Home

Tang-style beige gown and black boots at a hanfu gathering, adding that his classmates and teachers have been supportive of his style. Sumptuous Moroccan style dresses became popular while street styles adopted it too. It is a very popular clothing style in China, with the help of the qipao dress, ladies can show their good taste and charm. 84 Others may wear the cheongsam as an attempt to reconnect with their Chinese heritage and/or to show appreciation to the dress. After the World War II, Ryukyuan bridal clothing did not show any native Ryukyuan influence, and was instead of Japanese origin. The second opinion holds that the cheongsam inherited some features of the chángpáo of Banner People in the Qing dynasty, but the true origin of the cheongsam dates back to a period between the Western Zhou dynasty (1046-771 BC) and the pre-Qin era, approximately two millennia before the Qing dynasty.

In the Ming dynasty, the practice of wearing a single earring on the ear was not customary for Chinese men, and such practices were typically associated with the non-Chinese people living along the northern and north-western borders; however, there is an exception: young Chinese boys would wear a single ring-shaped earring attached to their ear as an amulet to protect them against evil spirits. Some may find themselves uncomfortable or feel alienation when wearing cheongsam due to the lack of self-identification with Chinese culture and Chinese identity. Lee, Linda T. (8 May 2012), “Han-Centric Dress: Fashion Subculture or a National Identity for China?”, Fashion: Exploring Critical Issues, BRILL, pp. Immerse yourself in the rich cultural heritage of China with the captivating Hanfu dresses available on AliExpress. Hong Kong Intangible Cultural Heritage Database. Images of Asia. Hong Kong: Oxford University Press (China). The first argument says that the cheongsam came directly from the clothing of the banner people when the Manchu ruled China during the Qing dynasty. It was first worn by women on their wedding day, and later, they would wear on special occasions. The cheongsam is generally considered to be adapted from the one-piece dress of Manchu women during the Qing dynasty which survived from the 1911 Revolution surviving the political changes and improved until it has become the traditional dress for Chinese women.

While women were prescribed to wear beizi as a regular dress, men could only wear it in informal situation. While adopting certain elements from foreign dress (e.g. Sogdian and Turk lapel robes), wedding hanfu the Chinese however maintain their traditional way of closing their fanglingpao on the right side. Today’s hanfu offer many variations while respecting the customs of their ancestors. The fadu of the Manchu people originated from a form of bag used by the ancestors of the Manchu who lived a hunting life through dense forested mountains. For women’s clothing, Manchu and Han systems of clothing coexisted. Dianzi (鈿子) – Informal festive Manchu headdress, used for on festive occasions such as birthdays, ceremonies, and New Year celebrations. 100 Some may be reluctant to wear it publicly due to their experiences of being part of a racialized group and/or due to self-loathing due to the experiences of racism and marginalization in various forms, such as physical attacks, ostracism, and bullying, the social pressure to integrate and/or the desire to assimilate in the dominant culture as a protective mechanism even at the expense of rejecting any aspects or association with Chinese culture, identity, and appearance in the dress.

The robe is a one-piece upper and lower connected long dress which was quite popular among ladies in Han. It is a term used to describe the traditional clothes worn by the Han people. The term qun with the Chinese character《帬》also referred to skirt . In February 2007, advocates of hanfu submitted a proposal to the Chinese Olympic Committee to have it be the official clothing of the Chinese team in the 2008 Summer Olympics. Individuals’ contribution does not count if the team does not achieve the set targets. As China transitioned through different dynasties, each era brought about its own set of influences on Hanfu. China: China Textile press and apparel press. New York: Dial Press. Berkeley: University of California Press. 615. Atlantis Press. pp. Under the rule of Emperor Minh Mạng, two new forms of áo dài were created from the áo ngũ thân regulated by Nguyễn Phúc Khoát: the áo tứ thân, and the Huế-style áo dài which was created with five flaps. This form of new fashion became the prototype of the áo dài; it was a form of áo ngũ thân which was invented by Lord Nguyễn Phúc Khoát; the áo ngũ thân also had 5 flaps instead of 4 (the 5th flap was small and was found under the front garment) and 5 buttons.

If you adored this informative article and also you would want to get more info concerning hanfu winter i implore you to visit the web-page.

Hanfu outfits cost anywhere from $30 to a few thousand dollars, depending on the quality. Sizing runs a bit small and material does not seem that high quality. Apart from quality issues, another aspect that has hindered the market is the long production cycle for hanfu designs. Sales have soared in recent years – the Hanfu industry’s total market value is estimated to be worth 1.09 billion yuan (about $154 million), according to state-run media China Daily. The daily casual wear of officials in the Song dynasty, apart from their official uniforms and uniforms, mainly consisted of small sleeved round necked shirts and soft winged buns with drooping headbands, still in Tang style, but with more convenient casual shoes for daily living. Due to the old system of the Five Dynasties, the government would give brocade robes to high-ranking ministers every year, divided into seven different colors such as Song dynasty Lingjiu ball patterned brocade robes. Yet, there are some tips I can give that will apply rather broadly to any menial sewing project of yours.

The term changpao is a generic term which refers to robes which are long in length and can include different forms of long robes, such as the ancient shenyi, the yuanlingpao. It can also be found in dark blue. Finnane, Antonia (2008). Changing clothes in China : fashion, history, pink short cheongsam with heart nation. Finnane, Antonia (2008), Changing Clothes in China: Fashion, History, Nation, New York: Columbia University Press. Paris, France: Atlantis Press. The cheongsam also had a significant impact on international fashion centers in the 1950s and 1960s, such as Paris, Rome, and New York, due to its perceived exoticism and its slim line silhouette which was also fashionable in Europe at those times. Hanfu, a national formal wear, takes its name from the times of the Han Dynasty, and now long out of fashion. Hanfu was too narrow a term, she said, pointing out that Chinese culture was full of “fusion and integration” between diverse ethnic groups. “They forced the Han people to drop their costumes, and so this piece of China’s cultural identity almost died out in the 20th century,” reads one article in state-run media. If an internal link led you here, you may wish to change the link to point directly to the intended article.

The shuitianyi may have originally originated from poor people, who would use whatever leftover clothing they would have at hand for saving purposes, and was initially only popular among poor women. For instance, while many may consider the tight-fitting, high-necked “qipao” as an example of typical Chinese period clothing, in the Hanfu community, it’s not considered Han clothing because it originated from the ethnic Manchu people. When Zhang Lingshan was a child, she would watch the Chinese period drama “Palace” on television, entranced by the characters’ ancient clothing. Now aged 19 and living in Beijing, silk cheongsam Zhang is a member of China’s growing “Hanfu” movement – a renaissance of the ancient clothing traditionally worn by ethnic-majority Han Chinese before the Qing dynasty. This fluidity between the different styles is why 23-year-old Lu Yao, who lives in Beijing, prefers to use the term “Huafu,” which refers to Chinese clothing more generally without the ethnic connotations. Some Uyghurs claim the camps are part of a wider and systemic program of “cultural genocide” by Beijing, intended to eliminate their religion and culture and bring them closer to China’s majority Han population. Editor’s Note: This feature is part of a wider CNN Style series on how culture in China is evolving in the Xi Jinping era.

In the year 2000, dudou-inspired blouses appeared in the summer collections of Versace and Miu Miu, leading to its adoption within China as a revealing form of outerwear. To form the sleeves, 2 additional pieces of fabrics were sewed together at the shoulder regions of the garment. Chinese clothing accessory in either the form of a long scarf, a neckband, or in the shape of waistcoat depending on the time period. If they find it, they’ll know; similar to the way they knew that it was finally the best time to marry a special someone. However, it was actually developed from zhiduo during the Ming Dynasty, and is worn over a skirt. 39-40 For the Han Chinese, however, Manchu-style clothing conflicted with their Confucian prescriptions which govern their attire. The fengguan xiapei is a set of attire which was composed of red mang ao (traditional Chinese: 蟒襖; simplified Chinese: 蟒袄; lit. The Round collar robe, also called yuanlingpao (Chinese: 圆领袍; Chinese: 圓領袍; pinyin: yuánlǐngpáo; lit. Garments and attire which used the jiaoling youren collar include: shenyi, jiaolingpao, mianfu, pienfu, diyi, dahu, and tieli.

If you are you looking for more info on modern qipao top review the web-site.

A photo of actress Lin Chi-ling in a Hanfu appeared on the large screen in New York’s Times Square in May. This long-running debate was reignited in May when a poster of actress Lin Chi-ling wearing a beautifully crafted “Hanfu” – one of China’s traditional dresses – appeared on the big screen at New York’s Time Square, making passers-by freeze in awe. A woman wearing a cross-collared banbi, Han dynasty. The clothes, which were first suppressed by Manchu rulers in the Qing Dynasty (1644-1912), went out of fashion as China became increasingly Westernized in the 20th century. It was first worn by women on their wedding day, and later, they would wear on special occasions. However, traditional chinese clothes women who were remarrying for a second times and who were to be become a man’s concubine were not allowed to wear fengguan. These fibres are extracted from flax and hemp plants and are essentially the ideal sweat wear because they are so breathable. But on the other hand, natural fibres and their fabrics are usually the preferable option when someone wishes to not drop a small bomb on the environment.

But the rich, ornate costumes that feature white, purple or gold dragons for men and phoenixes flying across bright red silk fabrics for women have made a comeback in the last decade. The Yuan dynasty was an era of ethnic integration in Chinese history, can you wear a hanfu for chinese new year and the costumes and clothing fully reflected this feature. In Ancient China, some ethnic minorities had clothing which generally closed on the left side in a way referred as zuoren (Chinese: 左衽; pinyin: zuǒrèn; lit. The high crown was called tongtianguan (Chinese: 通天冠; lit. According to Shen Congwen’s Zhongguo gudai fushi yanjiu《中国古代服饰研究 – lit. I think this is just beautiful! Think I want three, all in different colours… I find bobby pins to be extremely useful on edges where I want the fabric to be pinched together, as using straight or safety pins distorts the fabric to a slight degree. I used stretchy fabric for my first project; a wine coloured rayon and an ivory-ish blend of mostly linen or cotton, I don’t remember.

Moving on to important tools, the first one will be either a sewing machine, sewing needles or both. Also, this looks exactly like the sort of garment that you could have hanging in your sewing area for the cases when someone rings at the door. Western aesthetic values emphasize on three-dimensional close-fitting clothes that require sewing separate pieces like a collar or sleeves on to a body, according to professor Li Yingjun at the Academy of Art and Design of Tsinghua University. But if you don’t, your seam allowance frays, thread and lint go everywhere, the long threads in the overlocking catch on things, and the inside of your garments will look like a steaming hot mess. And this game of fibres extends to thread as well. You may also choose a contrasting thread colour; that way it doesn’t even matter anymore. It doesn’t work that way. Under the red outer garments, an inner garment known as zhongdan (Chinese: 中单) was worn. A pure red coloured bixi, an important component for ceremonial clothing, hangs down under the belt. Fabric scraps can also be sent to fabric recycling, where it will be broken down into yarns, rewoven into fabric and redyed to create a new product.

So I laid down some drafting paper and just drew it myself. There are additionally drafting guides on the internet so you can make your own patterns. Polyester is the poster figure of synthetic fibres, but there is also spandex and nylon. Synthetic fibres are entirely constructed from chemicals and can usually be equated with plastic. The high quality ones are like a very soft, drooping lawn, but most of them are a little coarse, with an open weave that creates more drape. Brazilian metal fan Daniel da Silva Anana, who had packed in among the moshing fans, said he was more worried about slipping on a floor wet with spilled drinks than the coronavirus. The change in upper garment style along with the adoption of Chinese-style trousers was decreed by the Nguyễn lords who ruled the south region of Vietnam and who wanted to differentiate their people from those living in the north and were ruled by the Trịnh lords. Interestingly, it was revolutionary Sun Yat-sen who introduced what is now called the Mao jacket in a move to “Westernize” menswear in the country in the early 20th century.

If you have any kind of concerns relating to where and how you can make use of mens traditional chinese clothing, you can call us at the web site.

Who says Hanfu can’t be modern and edgy? Whether you choose traditional or modern Hanfu, the most important thing is that it reflects who you are. It’s perfect for those who want to make a bold fashion statement. A statement necklace or a pair of earrings can go a long way. The silk fabric, the embroidery, the way it moved with the wind – it was like wearing a piece of history. It’s a way to connect with our roots and celebrate our rich heritage. It’s about expressing your personal style while honoring your cultural heritage. Choosing between modern and traditional Hanfu depends on your personal style and the occasion. Modern Hanfu, on the other hand, is about adaptability. If you’re interested in experiencing Hanfu, start with understanding its origins. Hanfu, the traditional clothing of the Han Chinese, encompasses a diverse range of styles that have evolved over thousands of years. Hanfu, the traditional clothing of the Han Chinese, has a history that spans thousands of years. The term “Hanfu” literally translates to “Han clothing,” representing the Han Dynasty (206 BC-220 AD), one of China’s golden ages. Besides, she added, Han people make up more than 90% of the Chinese population, so “it’s not weird” that Hanfu is so popular.

It’s a fusion of Chinese and Japanese fashion that results in a stunning piece of clothing. It’s my go-to piece when I want to stand out in a crowd. The 37-year-old said she overcame her reservations after going out dressed in a full outfit last year. As a result of fashion influencers, such as Shiyin and Chen Ningxi, and the Hanfu movement, this dress has become increasingly popular in the last few months. The length of the baidiequn can also vary depending if it worn alone or is combined with other garments: the classic baidiequn is a long-length skirt which is about ankle or floor-length and can be worn as a stand-alone lower garment; it also the most commonly seen variation of the baidiequn; the hewei baidiequn (合圍 百迭裙), also called encircling baidiequn, usually reaches the mid-calf and is used as an over-skirt which can be worn over another qun or ku; the last type is the qianduan houzhuang (前短 後長), which has a shorter guangmian compared to its pleated regions are floor-length; due to its special construction, the qianduan houzhuang is the only form of baidiequn which requires having its guangmian located at the front of the body.

In terms of cultural significance, both styles hold a special place in our hearts. Traditional Hanfu is usually reserved for special occasions like festivals, weddings, and cultural events. Modern Hanfu is versatile and can be worn for various occasions, from casual outings to formal events. But if you’re looking for something to wear on a casual day out, modern Hanfu would be a perfect choice. It incorporates modern materials and designs, making it more practical for everyday wear. An early form of informal headwear dates back as early as Jin dynasty that later developed into several variations for wear in different occasions. Both the jiaolingyouren and the jiaolingzuoren jackets for women coexisted in the Yuan dynasty. The bijia became a type of women clothing in the Ming dynasty, and by the middle of the Ming dynasty it had become a favourite form of dress for women, especially young women. The skirts worn over the jackets was a distinctive clothing style of the Tang dynasty’s women. 291The skirts could be embellished with stripe patterns of two colours or be found in monochrome colours. Sadly, the limitation of colours applies here as well. But as China is highly diversified, you can find many other types of clothes here too.

The Meiji period had seen the slow introduction of kimono types that mediated between the informal and the most formal, a trend that continued throughout the Taishō period, as social occasions and opportunities for leisure increased under the abolition of class distinctions. The Hanfu was more than just a piece of clothing; it was a symbol of status, with different designs and colors representing different social ranks. I tried to balance more casual hanfu of the era with some armor parts, like the waist guard and armored boots. The fundamental elements of traditional Hanfu include the “yi” (a narrow-cuffed, knee-length tunic tied with a sash), the “chang” (an ankle-length skirt), and the “bixi” (a knee-length piece of fabric that hangs down from the waist). The choice of fabric is also crucial in creating a stunning modern cheongsam dress. The Ruqun, a classic Hanfu style, gets a modern twist with vibrant colors and patterns. Traditional Hanfu connects us to our past, while modern Hanfu helps us carry our culture into the future.

The wearing of ancient Chinese clothing, known as hanfu, has gone rapidly from a niche hobby to a nationwide phenomenon in recent years. According to a report in 2022, the hanfu market in mainland China boasted an impressive 10.2 million customers. This is the first of two visual explainers about this fashion trend. The same report revealed the top three reasons consumers choose to wear hanfu: their appreciation and love of traditional Chinese culture, the way its style fits their aesthetics, and the fact hanfu lends itself well to flattering photos to post on social media. It is a term used to describe the traditional clothes worn by the Han people. Hanfu (漢服) or Huafu (華服) ? Hanfu (漢服) literally means Chinese Han people’s clothing. However, since Han Chinese are the dominant ethnic group in China, people generally refer to ancient Chinese clothing as hanfu. There is dispute over the term hanfu (漢服), as some scholars prefer Huafu (華服); “Hua”(華) represents the Chinese nation, including all 56 of its ethnic groups. When a performer at the 2022 Beijing Winter Olympics opening ceremony was spotted wearing hanbok while carrying the Chinese national flag, the Koreans accused China of claiming hanbok as its own. There is also an on-going controversy over whether hanfu is the origin of hanbok, the traditional Korean costume. To the untrained eye, hanfu, the Japanese kimono and the Korean hanbok may look alike. The Chinese embassy in Seoul responded that: “These traditional cultures belong to both the peninsula and the Korean people of China, cheongsam shirt and claims of … However, each has distinctive design elements, historical origins, and cultural significance unique to their respective countries. There is a common misconception that ancient Chinese clothing was bulky and heavy. Here are some of the unique features of the three types of attire. While some garments were indeed elaborate and layered, many traditional clothes, especially those made of silk, were designed to be lightweight and comfortable. Putting on hanfu with proper decorum was important in ancient Chinese society, as it was a way to distinguish social roles. Rules on how to wear, fold, and tie garments were followed meticulously to project an image of grace, modesty, and respect. Today, some of the followers of the hanfu revival movement adopt the same principles.

If you have any concerns regarding where and ways to utilize qipao vintage, you could call us at our own site.

Sino-Korean term derived from the terms guanfu (Chinese: 冠服; lit. Korean: 관복; Hanja: 冠服; RR: gwanbok; lit. Chinese: 官服; pinyin: guānfú; lit. Chinese courts of various dynasties. The guanfu (冠服) system was a court attire system in China which also formed part of the Hanfu (simplified Chinese: 汉服; traditional Chinese: 漢服; pinyin: Hànfú; lit. This system was them spread to neighbouring countries and was adopted in Korea since ancient times in different periods through the ritual practice of bestowal of clothing. The gwanbok system in Korea was different for each kingdom and changed throughout different periods. Acknowledgement through bestowed robes and crowns (冠服) from the Emperor of China, who held hegemony over East Asia, would give support to Korean Kings and successors, as being the authentic rulers of their country as well as confirmed the political status of the Korean kingdom in the rest of the Sinosphere. For example, initially given by the Chinese court in ritual practice, successive gwanbok were more often than not locally manufactured in Korea with different colours and adopted into hanbok. They favoured luxurious clothes like purple clothing for the top ranks and had decorative golden metal crowns and pointy hats called adorned with metal accessories and feathers. Silla and the other three kingdoms of Korea each had a version of the Bone-rank system where each social rank were allowed only certain clothes and certain ranks in court. Before adopting foreign systems, Korea had its own gwanbok system based on indigenous hanbok, mostly rooted in indigenous ranking systems and state religion like Mu-ism. Despite wearing foreign-influenced clothing, the rulers and the upper class still wore clothing that were indigenous outside of court. The rulers and the upper class in Korea’s history adopted different kinds of foreign-influenced clothing in each dynasty, mostly from China’s Tang, Song, Yuan, and Ming dynasties, while the commoners were generally less influenced by these foreign trends and their indigenous aesthetic continued to be seen in their clothing. In Korea, whenever a new dynasty was established, the Korean ruler and his court would be bestowed official clothing from the Chinese emperor. Under the dominance of the Han dynasty, Goguryeo and the little states (Hanja: 小國) were bestowed attires and other miscellaneous items from the Han dynasty court. This ritual of the Chinese Emperor bestowing official attire also included the official attire of the Korean Kings in the Goryeo and Joseon dynasties known as the Gonryongpo. After Gojoseon of Liaodong was defeated by the Han dynasty of China, four Chinese commanderies known as the Han-Sagoon were established in the region in 108 BCE. Nakrang Commandery which continued to exist until the early fourth century CE and transmitted Han dynasty culture and lifestyle to the regions, including the Korean peninsula. Proto-Koreanic entities were in constant conflict with these states until Goguryeo eventually ousted the Chinese from those regions by the early 4th century CE. A long type of po was introduced to Goguryeo and originated from the long paofu which was worn by the Han Chinese in court. Even after the ousting, Goguryeo court attire shows influences of the guanfu system. Another form of robe was the mid-calf po, which originated from the Northern Chinese, and was used to fend against cold weather; this form of robe was adopted by the Goguryeo upper class for various ceremonies and rituals. This court po was eventually modified and became the durumagi with no vents. 한국 민족의 고유복식은 저고리와 바지, 두루마기로 돼 있다. The court po was used for ceremonies and rituals, as well as in the royal attire goguryeo called the ochaebok. 이런 복식은 북방 호복(胡服)계열로 바지를 착용했다는 것은 기마민족(騎馬民族)이었음을 의미한다는 것이다. This kind of attire is related to the northern hobok, and wearing pants means that they were a horse-riding people. The Han dynasty influences can also be observed in the tomb murals of Goguryeo which were primarily painted in two regions: Ji’an (集安) and Pyeongyang, which are the second and third capitals of Goguryeo from the middle of the 4th to the middle of the 7th centuries respectively. The traditional clothing of the Korean people consists of a jeogori, baji, and a durumagi. 15 The Goguryeo murals dating from this period in the region of Ji’an typically shows the characteristics of the people of Goguryeo in terms of morals and customs while those found in the regions of Pyeongyang would typically show the cultural influence of the Han dynasty, including figures dressed in Chinese-style attire, as the Han dynasty had governed this geographical region for approximately 400 years. Male tomb owner wearing an ancient Chinese paofu, Anak Tomb No.3, Goguryeo, c. Wife of tomb owner wearing the Chinese zaju chuishao fu, Anak Tomb No.3, Goguryeo, c. The Goguryeo mural paintings found near Pyeongyang, such as the Anak Tomb No. 3 of Goguryeo dated 357 AD located near Pyeongyang, shows also strong influences of the Eastern Han dynasty which appears to have continued lingering in the regions of Manchuria during the third and early fourth centuries CE. The subjects and characteristics found on the murals are derived from the murals found in the Eastern Han dynasty tombs of China. The tomb owner is depicted as an idealized official of the Eastern Han dynasty being seated in frontal position wearing a Chinese paofu; the closest prototype of this mural painting can be found in the mural from the Yuantaizi Tomb in Chaoyang country, Liaoning, dating from the 4th century CE. The painting of the wife of the tomb owner wears a multi-layered Chinese attire, known as the zaju chuishao fu (Chinese: 杂裾垂髾服), and may indicate the Chinese clothing-style of the Six dynasties period. The Anak Tomb No. 3 also exerted strong influences on the subsequent development of iconography, structure, and tomb mural painting techniques found in the Goguryeo tombs. Traces of influences from the Han dynasty continued to appear in the early 5th century Goguryeo tomb murals located in the Pyeongyang areas, such as those from the Gamsinchong (龕神塚) where the ancient durumagi worn by the owner of Gamsinchong tomb was red (or purple) in colour and had wide sleeves. This figure is sitting on a flat bench under a red curtain, in a purple durumagi (a traditional Korean men’s overcoat) with both hands held inside the wide sleeves on his chest. He wears a dark silk hat that shows his high societal position. 16 It is also worn with a waist belt similarly to the native Korean durumagi-po-style. 16 Moreover, Goguryeo, influenced by the Chinese, also developed the ritual of bestowing attire to smaller entities, such as Silla, which in turn did so to other smaller entities. National Museum of Korea, Quarterly Magazine Vol. Please help improve this section by adding citations to reliable sources. This section does not cite any sources. Unsourced material may be challenged and removed. The influence of Goguryeo can be seen in Silla court clothing, which included a similar decorative apron with triangles but under their jeogori (top) in a more indigenous fashion. Southern parts of the Korean Peninsula had less influence from mainland political entities. Baekje had formed its own gwanbok system with influences from Silla that in turn influenced the Japanese court attire of the Yayoi and Kofun periods. The official guanfu system of the Tang dynasty was brought into Korea in 647 AD by Kim Chunchu who travelled to the Tang to request clothing and belts. In Balhae, the official attire of civil and military officials were issued by the state. During King Mun’s reign, Balhae started to integrate Tang dynasty elements, such as the bokdu and danryeong into its official attire. The official court attire in Balhae varied in colour based on the rank of the official; the colours worn were purple, red, light red, and green. In Goryeo, the gwanbok was typically influenced by the Tang and Song dynasty. However, due to the instability among mainland political entities, early Goryeo period had no official bestowing of gwanbok by an emperor. Early Goryeo operated with the Emperor at home, king abroad system. They used the emperor’s attire instead of a king. For the Myeonbok, they used the 12 stringed Myeongryugwan instead of 9 and performed rituals reserved for the emperor. However, the government officials continued to wear their daily-life clothing, such as a jeogori and baji (trousers) under their gwanbok work clothing. The danryeong, which was introduced during the United Silla period, continued to be worn as the outerwear of Goryeo officials and became part of the kingdom’s official attire. Wearing everyday clothing under gwanbok had already become a tradition since the Unified Silla period. 192 In 11th century, Goryeo was bestowed with the nine-stringed myeonryugwan and myeonbok and also received official attire from the Khitan Liao and Jurchen Jin dynasties as a sign that both were superior states to Goryeo. The royalty and aristocrats of Goryeo also wore danryeong and gwanmo that typically followed mainland Song dynasty official attire; this can be observed in Buddhist paintings of the Goryeo era. This ritual of bestowing attire to recognize a superior was broken during the Mongol Yuan dynasty. After Goryeo was subjugated by the Yuan dynasty of China, the Goryeo kings, royal court, and government had several titles and privileges downgraded to the point that they were no more the equals of the Yuan emperors. 123-124 At that time, they had to wear a purple goryongpo instead of a yellow one. 123-124 During the Mongol Yuan and late Goryeo period, Goryeo received Mongolian formal attire such as jilson as a sign of trust and Anda. 565 as such they were forbidden from wearing the yellow goryongpo (dragon robes) as it was reserved for the Yuan emperors. Goryeo kings at that time sometimes wore Mongol attire instead; several Mongol clothing elements were adopted in the attire of Goryeo. 123-124 Goryeo clothing-style customs also became popular at the end of the Yuan dynasty among Mongol rulers, aristocrats, queens and imperial concubines in the capital city under the influence of Empress Gi (a former Kongnyo and last empress of the Yuan dynasty, lit. 1365, a few years before the Yuan dynasty ended in 1368, and when she started to recruit many Goryeo women as court maids. The fashion trend was dubbed goryeoyang (Chinese: 高麗樣; pinyin: gāolíyàng; lit. 2005 study by senior researcher Choi based on the description provided by the same poem. The ritual bestowal of Gwanbok only resumed in late Goryeo. Chinese poetry from the Yuan dynasty and was described as being a banryeong banbi (Chinese: 方領半臂; pinyin: fānglǐng bànbì; lit. The Gwanbok system of Joseon continued the one used from the late Goryeo period and based itself on an early Ming dynasty court attire. 116 During the coup d’etat of Yi Seong-gye, Joseon had created its own gwanbok style, such as the blue gonryongpo, a color representing the east. In an attempt to restore new cultural norms which they perceived as being non-contaminated by the Mongol cultural influences, King Gongming and King U of Goryeo tried to establish amicable diplomatic relationship with the Ming dynasty and voluntarily requested to be bestowed clothing from the Ming dynasty, which included their royal attire (e.g. the goryongpo) and thus recognized the superiority of the Ming dynasty. The Great Compendium of the State Laws of Joseon》, a legal system which established Joseon as a vassal state and recognized China as the Suzerain. However, since the establishment of the Joseon dynasty, the Joseon court developed stronger ties with Ming China and followed the Confucian dress system which became outlined in the Gyeongguk daejeon《경국대전; 經國大典; lit. 48 But among other countries in the Sinosphere, Joseon was ranked second after Imperial China according to the concept of minor Sinocentrism, known as So-junghwa sasang (Korean: 소중화사상; Hanja: 小中華思想; lit. Joseon dynasty equating Sinicization, junghwa (Korean: 중화; Hanja: 中華; lit. 116 This belief was reflected in the Joseon gwanbok, which continued to show the Ming dynasty-based clothing design. 48 As such to reinforce this strict hierarchical system, the Joseon Gwanbok system had to two ranks below that of China as Joseon was a vassal state while China was the suzerain. 116 It was also the pride of Joseon to preserve Confucian culture and visually manifest it through the traditional dress system of the Ming dynasty. Joseon continued to use the Ming dynasty-based gwanbok rather than receiving the Manchu-style guanfu, which they considered as being hobok and ironically barbaric. In the later half of the Joseon dynasty, as new gwanbok could not be requested from the fallen Ming, it was instead manufactured in Korea which leads to its localization, such as the uniquely Korean U-shaped collar found in the danryeong, which can also be seen in later forms of wonsam. Moreover, the animosity caused by the Later Jin invasion fuelled this notion which continued due to the Qing invasion of Joseon. Only Emperor Gojong and Emperor Sunjong were able to wear the yellow goryongpo. 116 Emperor Gojong wore the goryongpo and had changed the original colour of his red goryongpo to yellow, which was the same colour reserved to the Emperor of China. 56 He also upgraded his jobok to that of the Chinese Emperor’s by including the tongtianguan (통천관; 通天冠; tongcheongwan) with twelves liang (Chinese: 梁; pinyin: liáng; lit. Emperor, thus, replacing his yuanyouguan (원유관; 遠遊冠; wonyugwan) which was worn by the feudal kings. The commoner men were only allowed to wear gwanbok (관복; 官服) on the day of their wedding. 57,65 He also included the jiangshapao (강사포; 絳紗袍; gangsapo) in his jobok. The wedding gwanbok was usually deep blue or violet in colour. There were several types of gwanbok (관복; 冠服) according to status, rank, and occasion, such as jobok, jebok, sangbok, gongbok, yungbok, and gunbok. However, the term gwanbok (관복; 官服) used in a narrow scope only denote the gongbok and the sangbok, which typically refers to the danryeong-style attire, worn by the court officials. The gongbok (공복; 公服; lit. 48 was worn when officers had an audience with the king at the palace. The jebok (제복; 祭服; lit. 55-58 It was worn by civil and military officials when the King would hold memorial services at the Royal Ancestral Shrine where he would perform ancestor veneration ritual, called jesa. 55-58 The joogdan (inner garment) was made of white silk, the white neck band of the inner robe was visible under the jebok. 55-58 A red apron was worn between the jebok and the joogdan. The robe was a danryeong with large-sleeves which was made of black silk gauze; it was worn with a jegwan (mourning cap), a red skirt, a dae (girdle), a bangshim-gokryeong (a ritual token which was attached to the round collar), a husu (a black apron with embroidery and tassels), leggings, Korean cotton socks, and low-sided shoes called hye. Left: Chinese Diyi of the Ming dynasty. The jeogui (적의; 翟衣), also called referred as gwanbok, myeongbok, and yebok (예복; 禮服; lit. 130 However, the early Joseon jeogui was different from the one developed and worn in the late Joseon and during the Korean empire. Right: Korean Jeokdui, modified from the Chinese diyi, Korean Empire. In the late Joseon, the jeogui system of Joseon was developed and was modified such that pheasant heads would appear on the back of the daesam along and also added a rank badge to the jeogui. During the Korean empire, the jeogui was modified again and became blue in colour for the Korean queen which was now proclaimed empress; this blue jeogui also expressed the proclamation of Korea as an independent nation. In the early Joseon, the Ming dynasty bestowed the daehong daesam, a plain red ceremonial robe along with chiljeokgwan, a guan with seven pheasants, to the Joseon queen which was then worn as a ceremonial attire. Left: Pien Fu of the Ming dynasty. Middle: Geumgwan Jobok in the late 18th century. It was also the official court attire for the high-ranking military and civil officials; they wore it when they would meet with the King and was worn for important ceremonies. 53-55 Examples of special occasions were the national festivals, or announcement of royal decrees. The jobok consisted of a wide-sleeved, red silk gauze robe which was worn over a blue inner robe; a red apron was worn in the front of back. 53-55 On the back, there was a husu, i.e. a rectangular-shaped embroidered insignia. The jobok (조복; 朝服; lit. During the Korean Empire period, when Emperor Gojong wore the jobok as his attire for imperial audience, he decided to upgrade his jobok to that of the Chinese Emperor’s by including the tongtianguan (통천관; 通天冠; tongcheongwan) with twelves liang (Chinese: 梁; pinyin: liáng; lit. 65 he also wore the jiangshapao (강사포; 絳紗袍; gangsapo), a red robe which was worn by the Emperor and the feudal kings. 53-55 To indicate the rank of the officials, officials wore geumgwan; the geumgwan had gold stripes which would mark its wearer’s rank. The mianfu (면복; 冕服; myeonbok; lit. Chinese Emperor, which consisted of a mianguan (면류관; 冕旒冠; myeollyugwan) with twelve beaded strings (면류; 冕旒; myeollyu) and was worn together with the gunfu (곤복; 袞服; gongbok) which was decorated with Twelve Ornaments. 56 The mianfu was the attire which projected the authority of the Chinese Emperor in the Sinosphere. The myeonbok was used a ceremonial attire by the Joseon kings, kings, crown prince, and crown grandson from the Goryeo period through the Joseon period. 56 The mianfu was introduced in Korea from China where it became known as myeonbok. Left: Chinese mianfu of the Ming dynasty. As feudals kings, the Kings of Joseon were not allowed to use the twelve beaded strings instead they had to use nine beaded strings. 56 Moreover, they were supposed to wear a robe in their myeonbok which was decorated with nine out of the Twelve Ornaments and thus their this robe was referred gujangbok (Hanja: 九章服). The Korean myeonbok differed from the mianfu worn by the Chinese Emperor as the King of Joseon were feudal kings. The nine ornaments on the gujangbok were either painted or embroidered and they represented the virtue and authority of the King; the crown prince of Joseon on the other hand were only allowed seven out of the twelve ornaments. The myeonbok of Joseon was thus was made up of eleven different pieces of garment and apparels, which included the gui (Hanja: 圭; a jade tablet), the mianguan (면류관; 冕旒冠; myeollyugwan), the ui (Hanja: 衣; Chinese: 衣; pinyin: yī; lit. Hanja: 大帶; Chinese: 大帶; pinyin: dàdài; lit. During the years of the Yuan invasion of Goryeo, King Gongmin was recorded to have temporarily worn the myeonbok of an emperor with the Twelve Ornaments and wore the mianguan with twelve beads. There were also instances when Korean kings wore the mianfu reserved for the Emperor. However after the establishment of the Ming dynasty, King Gongmin restarted wearing the myeonbok of a feudal king. When Emperor Gojong declared himself emperor of Korea when he appropriated the ancient Chinese dress system and wore a myeonbok, which emulated the mianfu with Twelve ornaments and the twelve-beaded string mianguan of the Chinese emperor. Until 1897, King Yeonjo’s guidelines concerning the Joseon myeonbok system remained in effect; some changes were later on implemented with the proclaiming of the Korean Empire. 56 The Joseon myeonbok was thus localized and developed into its current form through time. The sangbok (상복; 常服; lit. The yungbok was related to military affairs. 48 was worn as a daily official clothing. Gwanbok in the Goryeo period, 11th century. Gwanbok in the Goryeo period, 14th century. The Journal for the Studies of Korean History. 72. The Society for the Studies of Korean History: 251-296. ISSN 1229-6252 – via DSPACE Repository. Journal of the Korean Society of Clothing and Textiles. 1213)의 국왕 책봉(冊封)과 관복(冠服) 사여. Jill Condra. Westport, Connecticut. Yunesŭk’o Han’guk Wiwŏnhoe (2005). Korea Journal. Vol. 45. Korean National Commission for UNESCO. Condra, Jill (2008). The Greenwood encyclopedia of clothing through world history. Yŏksa Wa Hyŏnsil: Quarterly Review of Korean History (in Korean). Seyock, Barbara (2014). “Memories from Abroad: Han 漢 Chinese and Nomadic Heritage in Korean and Japanese Archaeological Contexts” (PDF). Kim, Jung-Sook; Christensen, Barbara (1978). “Costumes of Korean women with emphasis on the Yi dynasty” (PDF). Lee, Samuel Songhoon (2013). Hanbok: Timeless fashion tradition. Studies on the History of Exchange Relations in the East Asian World. The Study of Culture & Art. National Museum of Korea Editorial Team (Spring 2009). “National Museum of Korea Vol.07”. Quarterly Magazine. Vol. 7, no. 7. Retrieved 2022-06-26. Goguryeo tomb murals were primarily painted in Jian集安 and Pyeongyang,平壤 the second and third capitals of the kingdom from the middle of the fourth century until the middle of the seventh, respectively. They also display slightly different characteristics by region. Han’guk Kukche Kyoryu Chaedan. For example, the morals and customs of Goguryeo are featured in murals found in Jian, while those in Pyeongyang show the cultural influence of the Han dynasty 202 BC-AD 220 in China, which governed the region for about four hundred years. This explains why we can see figures in Chinese-style dress in the latter. Lee, Junghee. “The Evolution of Koguryo Tomb Murals”. Pratt, Keith L. (1999). Korea: a historical and cultural dictionary. Richmond, Surrey: Curzon Press. Richard Rutt, James Hoare. Yu, Ju-Ri; Kim, Jeong-Mee (2006). “A Study on Costume Culture Interchange Resulting from Political Factors” (PDF). The Korean Society of Clothing and Textiles. The National Folk Museum of Korea (South Korea) (2004). Korean Costumes through the Ages: Commemorating the Centennial of Korean Immigration to the United States. A new history of Parhae. John B. Duncan, Tongbuga Yŏksa Chaedan, Tongbuga Yo⁺їksa Chaedan. Kyu-Seong, Choi (2004). “A Study of People’s Lives and Traditional Costumes in Goryeo Dynasty”. Leiden: Global Oriental. 2012. pp. A companion to Korean art. J. P. Park, Burglind Jungmann, Juhyung Rhi. Kim, Jinwung (2012). A history of Korea: from “Land of the Morning Calm” to states in conflict. The Research Journal of the Costume Culture. Bauer, Susan Wise (2013). The history of the Renaissance world: from the rediscovery of Aristotle to the conquest of Constantinople (1 ed.). Park, Hyunhee (2021). Soju A Global History. Long River Press. p. Yang, Shaorong (2004). Traditional Chinese clothing costumes, adornments & culture. Acta Orientalia Academiae Scientiarum Hungaricae. Kim, Jinyoung; Lee, Jaeyeong; Lee, Jongoh (2015). “Goryeoyang and Mongolpung in the 13th-14th centuries”. Choi, Hai-Yaul (2007). “A Study on the Design of Historical Costume for Making Movie & Multimedia -Focused on Rich Women’s Costume of Goryeo-Yang and Mongol-Pung in the 13th to 14th Century-“. Fashion, identity, and power in modern Asia. Journal of the Korean Society of Costume. Kyunghee Pyun, Aida Yuen Wong. Academy of Korean Studies. Hyosun, Joe (22 March 2023). “복식(服飾)”. Cultural Heritage Administration. “King’s Robe with Dragon Insignia – Heritage Search”. Hwang, Oak Soh (2013-06-30). “Study on the Korean Traditional Dyeing: Unique features and understanding” (PDF). International Journal of Costume and Fashion. Elodie Dornand de Rouville. Irvine, CA: Seoul Selection. Joinau, Benjamin (2015). Sketches of Korea: an illustrated Guide to Korean Culture. Chosun Ilbo (English Edition). Park, Sungsil (2022). “Jeogui(翟衣)”. Encyclopedia of Korean Folk Culture. 관복 (官服) (in Korean). Encyclopedia of Traditional Korean clothing. Vol. VI (English ed.). Seoul: National Folk Museum of Korea. Academy of Korean Studies. National Museum of Korea. Hee-kyung, Yoo (22 March 2023). “조복(朝服)”. Wikimedia Commons has media related to Gwanbok. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. This page was last edited on 15 October 2024, at 14:47 (UTC). By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

If you beloved this post and you would like to obtain a lot more data regarding hanfu women kindly check out the website.

The chinoiserie in the Chapter 186 cover is so glorious. I must laud Yana T for her exquisite illustrations. He looks like a diva here. His ambivalence-his eyes close, his back facing us-could probably symbolise his hidden intentions, his cunningness. Lau is wearing what looks like, I assume, a flowing hanfu, a traditional clothing style worn by Han Chinese men, which could be as colourful as it should be, wedding hanfu and is made of finest silk. And as soon as he opens his eyes? He’s incalculable and/or out to kill you. I don’t think Yana meant the blue gaucus or sea slugs. “Never stroke the blue dragon’s head.” A cautionary not to betray Lau for he’s already mapped out your next move? But the mythological animal deity. Why blue dragon? What is its significance to Lau? An instruction to keep oneself out of his way? “The Chinese believed that there were innumerable dragons, varying in color, size and power. An azure or blue dragon symbolized the east and was identified with spring. “The Azure Dragon (Chinese: 青龍 Qīnglóng), also known as Qinglong in Chinese, is one of the Dragon Gods who represent the mount or chthonic forces of the Five Regions’ Highest Deities (五方上帝 Wǔfāng Shàngdì). Red or yellow dragons represented the south and summer. He is also one of the Four Symbols of the Chinese constellations, which are the astral representations of the Wufang Shangdi.

Swedish costume, designed by King Gustav III and introduced in 1778. It was designed for the nobility and the middle class with the intention of limiting rising consumption and import of luxury within fashion, which was considered a drain on the economy and detrimental to society because of ensuing poverty. A masculine and a feminine costume were designed. Presented by Gustav III in 1778 without legislative action to make them mandatory, the costumes by royal recommendation were to be the official clothing of the nobility and the middle class (burghers). The woman’s version of the costume was to have a lasting effect, modified several times later, as the official costume of the Royal Court. The clergy and peasant estates were excluded from the recommendation. In motivating the reform and the name of the costume, the king stressed the importance of getting his Swedish subjects to stop emulating expensive foreign fashions. Nations should be themselves. The idea stirred interest abroad, and especially in France opinions varied. The ruler of the Swedes, who doesn’t overlook anything, realizes this wholly and fully. They should only imitate each other in what is good and never in what is capricious. And he is going to give his people the greatest of all possessions – manners. Give him my humble greetings and tell him, that I honor him as a benefactor of humanity, and an example for kings. I am dying, and I am taking that feeling to my grave as a comfort to me. Other persons were free to choose their own color combinations as long as they maintained the twotone design. The female costume followed the fashion of the era, except for its collar and sleeves which were inspired by the Renaissance. Both the female and male costumes had specific color requirements for court functionaries: black with red trim regularly, and light blue with white trim for formal occasions. It never caught on with a broader feminine populace, at first only being used at the Royal Court in the presence of the monarch. The design of the dress subsequently continued to follow current fashions as time went on, but the basic look of the characteristic, vertically striped sleeves has been kept, and a specific color rule developed: black or very dark blue with white trim. After the death of Gustav III, it became the official uniform worn at court by ladies in waiting and a customary dress for women formally presented at Court. The dress was used for women being presented at Court until 1952, and is still in use by Swedish ladies-in-waiting on formal occasions. The male costume was much more original and included details from the Renaissance and the Caroline period of Swedish history. This page was last edited on 1 September 2024, at 04:15 (UTC). It was used at Court and by many officials during the reigns of Gustav III and his son Gustav IV Adolph and later also was in limited use as a sort of folk costume for townsmen in Stockholm. Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

If you adored this informative article as well as you would want to obtain more information with regards to qipao inspired dress kindly go to our own web-site.

Cheongsam (UK: /tʃ(i)ɒŋˈsæm/, US: /tʃɔːŋˈsɑːm/) or zansae, also known as the qipao (/ˈtʃiːpaʊ/) and sometimes referred to as the mandarin gown, is a Chinese dress worn by women which takes inspiration from the qizhuang, the ethnic clothing of the Manchu people. It was developed in the 1920s and evolved in shapes and design over years. The cheongsam is most often seen as a longer, figure-fitting, one piece garment with a standing collar, an asymmetric, left-over-right (youren) opening and two side slits, and embellished with Chinese frog fasteners on the lapel and the collar. It was popular in China from the 1920s to 1960s, overlapping with the Republican era, and was popularized by Chinese socialites and high society women in Shanghai. Although the cheongsam is sometimes seen as traditional Chinese clothing, the cheongsam continues to evolve with times as it responds to the contemporary modern life. The term cheongsam is a romanization of Cantonese word chèuhngsāam (長衫; ‘long shirt/dress’), which comes from the Shanghainese term zansae. As English loanwords, both “cheongsam” and “qipao” describe the same type of body-hugging dress worn by Chinese women, and the words could be used interchangeably. However, in Mandarin Chinese and other varieties of Chinese, chángshān (長衫) refers to an exclusively male garment, and the female version is known as the qípáo. In Cantonese and Shanghainese, the term is used to describe a Chinese dress popularized in Shanghai. The word qipao (keipo), which literally means “Bannerman robe” and originally referred to a loose-fitting, trapezoidal-cut garment worn by both Manchu men and women, became a more formal term for the female chèuhngsāam. In Hong Kong, where many Shanghainese tailors fled after the communist revolution of 1949, the word chèuhngsāam became gender-neutral, referring to both male and female garments. Usage of the term “cheongsam” in Western countries mostly followed the original Cantonese meaning and applies to the dress worn by women only. However, after decades of development, the design of cheongsam itself can be roughly categorized into the Beijing style, the Shanghai style, and the Hong Kong style. The length of the cheongsam can vary; it can be either long or short. The cheongsam is typically a tight-fitting dress, with a pair of high side slits above the knee-level. It is more often seen with short sleeves; however, it can also be sleeveless. In Chinese clothing culture, the overlap on the right side is known as youren. It is typically found with the mandarin collar and has asymmetric closure which runs from the central collar across the top area of the chest to the armhole curing down to the right side. The fasteners uses traditional Chinese knotting craftwork with the use of the pankou fastening and Chinese button knot. Yigun yiqian: the gun is dark purple while the qian is white. However, the cheongsam is not limited to the asymmetrical youren closure; there are various styles of cheongsam necklines, including a symmetrical opening in the chest area. The cheongsam is typically edged with piping, especially at the collar and the closure. There are four traditional piping techniques used in the making of the cheongsam: gun (滚; ‘roll’) which is a narrow strips of fabric roll around the raw edge of the garment and is the most commonly used nowadays, xiang (镶) which is broad edging typically found in Manchu clothing of the Qing dynasty and the early cheongsam and is now quite rare, qian (嵌) is a very narrow strip of fabric which is even narrower than the gun, and dang (宕) is a specific type of xiang technique which uses a narrow strip of fabric which is stitched on the dress. It is also typical for the qian and the gun to be used together on the same dress creating a double-edged look; this technique is known as yigun yiqian (一滚一嵌; ‘one gun one qian’). Other double-edged piping technique include “two-gun-one-qian” and the “two-gun-two-qian”. Different materials can be used in the making of the cheongsam, such as wool, silk (including silk floss, damask, brocade, satin), or silk-like materials. The dang can also be combined with the gun; in this combination, the dang and the gun would be made of the same width and colour of fabric but they would run parallel to each other about two to five centimeters away from each other. The cheongsam can also be unlined or interlined. The fabric of the cheongsam can decorated with a diversity of decorative motifs, which can be embroidered on the dress. It is typically handmade. It is also characterized by its wide piping. It maintains the traditional straight and A-line silhouette, and often has embroidery and elaborate adornments. The Beijing-style cheongsam expresses Chinese culture in its style. The production of a Beijing cheongsam is complex. The pankou fasteners can sometimes take several days to create, typically requiring twenty-six procedures of silk processing to be turning into silk strips which would be appropriate in the making of the fasteners of various patterns by artisans. The Shanghai-style Cheongsam originated in Shanghai and is a popular and dominant style. As a result, to deliberately create a more figure-hugging silhouette and to focus on showing off the natural curve of the female body, many elements of Western tailoring techniques can be found in the Shanghai-style cheongsam, including curved cutting, waist darts. This act of showing the female body was a physical expression of the changes in the identities of Chinese women and their rebellion against the idealized womanhood as indicated in the Confucian ideology. The Shanghai-style Cheongsam, especially, conveyed progressive messages of female body emancipation from the 1930s to 1940s; it also came to symbolize the idea of modernity in “pursuing health, fashion, and natural beauty”. It also features high side slits and high collar. It also uses lighter materials and has less elaborate embroidery or adornments; the piping is very narrow. The collars can be lapel collars, water drop collars, and lotus leaf collars; the shape of the sleeves are also diverse. The Jiangnan-style cheongsam, also known as Su-style cheongsam, originated in the Jiangnan Water town. This style of cheongsam expresses the cultural characteristics of the water town in Jiangnan and also creates a fusion between Chinese calligraphy and Chinese painting, incorporating the hand-painting art of the Wumen School of Painting. The dress is also embroidered with rich pattern motifs which tend to be floral, e.g. plum, orchid, bamboo, chrysanthemum, peonies, and roses. The Manchu are an ethnic minority that founded the last of China’s imperial dynasties, the Qing dynasty, which lasted from 1644 to 1911. When the dynasty was first established, dress regulations were implemented as a way of expressing their identity as a people and creating social order. It is characterized by the neckline and embroidered patterns on the edges of the cuff. They used an administrative division called the Eight Banner system. Originally only the Manchu households were organized within this system, but over time naturalized Mongols and Han Chinese were incorporated. The Manchu, and anyone living under the Eight Banners system, wore different clothing from ordinary civilians. Thus, they became known as the Banner People (Chinese: 旗人; pinyin: qírén; lit. The type of qizhuang that both men and women typically wore consisted of long robes, which can be referred to as the Manchu changpao and also categorized under the broad category of changpao (Chinese: 长袍; Chinese: 長袍; lit. Chinese: 长衫; traditional Chinese: 長衫; lit. On the other hand, some imperial Manchu women wore a changfu (常服), informal dress, which looked similar to the men’s neitao known as the changfupao (常服袍). Manchu men wore a changpao, which were designed for horseback riding, known as neitao, which was characterized by two pair of slits (one slit on each side, one slit on the back, and one slit on the front) which increased ease of movement when mounting and dismounting horses, a pianjin collar (a collar which curved like the alphabet《S》), and the sleeve cuffs known as matixiu (Chinese: 马蹄袖; pinyin: mǎtíxiù; lit. There were also two styles of changpao for the imperial consorts, known as chenyi and changyi, which became popular. The chenyi and the changyi differed in terms of structure: the changyi had two high side slits which allowed for greater ease of movements while the chenyi had no side slits. Both the chenyi and changyi were also the changfu of the Manchu women; they also both became popular during the reign of Emperor Qianlong. It is also theorized that the cheongsam was derived from the Manchu women’s chenyi although the chenyi shows the absence of slits. Both the chenyi and changyi differed from the changfupao lacking the matixiu cuffs. Throughout China’s multicultural history, clothing has been shaped through an intermingling of primarily Han clothing styles, the Han Chinese being the dominant ethnicity, and the styles of various ethnic groups. Manchu robes were initially collarless. Some examples include the standing collar of the cheongsam, which has been found in relics from the Ming dynasty, ruled by the Han Chinese, and was subsequently adopted in the Qing dynasty as Manchu clothing items. The Manchu also adopted the right closure from the Han Chinese as they initially closed their robes on the left side. Left: A Qing-style aoqun, a form of Hanfu worn by Han women around the 19th to 20th centuries. Chenyi, a one-piece Manchu women’s robe, Qing dynasty. Below their upper garment, this qun, skirt, is a mamianqun, a style which was inherited from the Ming dynasty and continued to develop in the Qing dynasty. Under the dynastic laws of transition from Ming to Qing, all Han Chinese were forced to adopt the Manchu male queue hairstyle and adopt Manchu clothing under the Tifayifu (剃发易服; 剃髮易服; tìfàyìfú) policy instead of being found wearing the traditional Hanfu, under the threat of death penalty. Right: Lady Aisin-Gioro Hengxiang, the birth mother of Wanrong, wearing the traditional Manchu one-piece robe, a chenyi, that later inspired the cheongsam. However, the order for ordinary non-Banner Han civilians to wear Manchu clothing was lifted, and only those Han who served as officials or scholars were required to wear them. By the late Qing, not only officials and scholars, but a great many Han commoners wore Manchu-style male attire. However, until 1911, the Manchu changpao was required clothing for Chinese men of a certain class. What is now known as the Chinese changshan was developed by the Han Chinese during the Qing dynasty. Over time though, some Han civilian men voluntarily adopted the changshan. 129 The Qing dynasty Chinese changshan was modeled after the Manchu’s men’s robe. 129 Han Chinese started to wear the Qing dynasty Chinese changshan after the Manchu conquest; the Chinese changshan was a modified version of the changshan worn in the Ming dynasty (1368-1644 AD), the dynasty preceding the Qing dynasty. 129 The Chinese changshan differed from the Manchu men’s neitao as it only had two slits on the sides, lacking the central front and back slits, and lacked the presence of the matixiu cuffs; the sleeves were also longer than the ones found in the neitao. For women, Manchu and Han systems of clothing coexisted. It thus adopted certain Manchu elements, such as slimming their changshan, adopting the pianjin collar of the Manchu, and using buttons and loops at the neck and sides. Throughout the Qing dynasty, Han civilian women could wear traditional Han clothing from the Ming dynasty. They wore an early form of the cheongsam, which quickly became the regular outfit of urban women in metropolitan cities like Beijing and Shanghai. Cheongsam of the late 1910s and early 1920s had relatively loose cutting with long, wide sleeves. One of the earliest cheongsams was A-line with wide three-quarter sleeves and would fall just below the knee level. In the late 1910s, after the overthrow of the Qing dynasty and the founding of the Republic of China, women began to partake in the education system. In 1929, the cheongsam was chosen by the Republic of China government to be one of the country’s national dresses. Under the Western influences of wearing shorter dresses in 1928, the length of the cheongsam became shorter. However, even before the Clothing Regulations of 1929, women had already stopped wearing ku trousers in favor of silk stockings. Chinese women held no respect to the rule, as it was seen as an attempt by the Republican government to control individual rights and woman’s liberty. 48 With the designation of “national dress”, the Republic of China government also promulgated the new Clothing Regulations of 1929, which specified the cheongsam should be worn with trousers and be calf-length. Former First Lady of China Madame Wellington Koo (Oei Hui-lan) was a prominent figure among them. Voted several times by Vogue into its lists of the world’s best-dressed women, Madame Wellington Koo was much admired for her adaptations of the traditional Manchu fashion, which she wore with lace trousers and jade necklaces. From the 1920s onwards, the cheongsam was quickly popularized by celebrities, socialites, and politicians in Shanghai. Cheongsam dresses at the time had been decorously slit a few inches up the sides, but Madame Koo slashed hers to the knee, ‘with lace pantelettes just visible to the ankle’. Unlike other Asian socialites, Madame Koo also insisted on local Chinese silks, which she thought were of superior quality. Starting from the early 1930s, there was a further transformation of the qipao as it became increasingly shorter, tighter, and body-hugging, with side slits that reached up to the thigh. Moreover, numerous distinct cheongsams designs emerged, with experimental changes on fastenings, pipings, collars, fur-lined cuffs, various length of sleeves, or simply sleeveless. Consumer culture rose as Western and Chinese merchants cooperated to move towards early capitalism. Newer forms featured slender and tight-fitting pencil cuts and deep necks, which is different from the early cheongsam. People eagerly sought a more modernized dress style and transformed the old cheongsam to suit new tastes. High-class courtesans and celebrities in the city welcomed the tight-fitting cheongsam. It was at this time the word cheongsam became well known in English. In Shanghainese, it was first known as zansae for ‘long dress’, rendered in Mandarin as chángshān and in Cantonese as chèuhngsāam. Then, the spoken Cantonese renditions of 長衫 was borrowed into English as “cheongsam”. High-heeled shoes were popularized in the Shanghai fashion scene in the 1930s. Stockings and High-heeled shoes became an essential part of the cheongsam fashion set, which spawned new side slits designs reaching the hip line, intended to display the hosiery and heels. Trousers had completely fallen out of use, replaced by different types of hosiery. As Western fashions evolved, so did the cheongsam design, introducing high-necked sleeveless dresses, bell-like sleeves, and the black lace frothing at the hem of a ball gown. By the 1940s, cheongsam came in a wide variety of fabrics with an equal variety of accessories. 247 As a result, the cheongsam-style uniform was regarded as an icon of the wealthy class and was perceived as Bourgeois by the Communist China. Cheongsams were worn by celebrities, societies, and students of prestigious missionary schools in the early 20th century. 247 From the 1950s to the 1970s, with the destroying Four Olds movements and the Chinese Cultural Revolution (1966-1976), China pushed for egalitarian ideology and wearing cheongsam could result in punishment. She was later declared guilty in the Cultural Revolution for wearing it, due to its historical ties and symbolism. For example, in 1963, when Chinese President Liu Shaoqi visited four neighbouring countries in South Asia, the first lady Wang Guangmei wore a cheongsam. It became everyday wear in the British colony of Hong Kong in the 1950s, and leather clutch, high heels, and white gloves were common pairing accessories. In other Chinese communities, such as Taiwan, Malaysia, Indonesia, Singapore and Hong Kong, the cheongsam remained popular after the war. However, the popularity ultimately declined in the 1970s, giving way for cheaper and mass-produced Western-style clothing. Since the 1980s, with the trend of reevaluation of Chinese traditional culture, people in mainland China started to pay attention to the cheongsam again. The cheongsam is gaining popularity in films, beauty pageants, and fashion shows in both China and other countries all over the world. These uniform cheongsams are in a plain color, hemmed just above the knee, with a close-fitting wool suit jacket of the same color as the cheongsam. It is also common for these uniforms to only borrow certain elements, such as the standing collar and frog clasps, without adopting the whole design. In the 1950s, women in the workforce in Hong Kong started to wear more functional cheongsam made of wool, twill, and other materials. Most were tailor fitted and often came with a matching jacket. In 1984, the cheongsam was specified as the formal attire of female diplomatic agents by the People’s Republic of China. The dresses were a fusion of Chinese tradition with modern styles. Cheongsam was commonly replaced by more comfortable clothing such as sweaters, jeans, business suits, and skirts. They are sometimes worn by politicians and film artists in Taiwan and Hong Kong. They are shown in some Chinese movies, such as in the 1960s film The World of Suzie Wong, where actress Nancy Kwan made the cheongsam briefly fashionable in Western culture. Due to its restrictive nature, it is now mainly worn as formal wear for important occasions. They are also commonly seen in beauty contests, along with swimsuits. Today, cheongsam is only commonly worn day to day as a uniform by people like restaurant hostesses and serving staff at luxury hotels. A few primary schools and some secondary schools in Hong Kong, especially older schools established by Christian missionaries, use a plain-rimmed sky-blue cotton and/or dark blue velvet (for winter) cheongsam with the metal school badge right under the stand-up collar to be closed with a metal hook and eye as the official uniform for their female students. Before World War II, it was customary for girl students who attended schools run by Western missionaries societies to wear cheongsam as their school uniforms; on the other hand, there were very few indigenous Chinese schools that were using the cheongsam as a school uniform. The schools which use this standard include True Light Girls’ College, St. Paul’s Co-educational College, Heep Yunn School, St. Stephen’s Girls’ College, Ying Wa Girls’ School, etc. These cheongsams are usually straight, with no waist shaping, and the cheongsam hem must reach mid-thigh. Although the skirts have short slits, they are too narrow to allow students to walk in long strides. The cheongsam fit closely to the neck, and the stiff collar is hooked closed, despite the tropical humid and hot weather. The seams above the slits often split when walking and are repeatedly sewn. Many schools also require underskirts to be worn with the cheongsam. The underskirt is a white cotton full slip, hemmed slightly shorter than the cheongsam, and has slits at the sides like the cheongsam, although the slits are deeper. A white cotton undershirt is often worn underneath the cheongsam. The cheongsam’s length, styling, color, and sleeve length vary between schools. Many students feel it is an ordeal, yet it is a visible manifestation of the strict discipline that is the hallmark of prestigious secondary schools in Hong Kong, and many students and their parents like that. Some rebellious students express dissatisfaction with this tradition by wearing their uniform with the stand-up collar intentionally left unhooked or hemmed above their knees. The Ying Wa and True Light Schools have sent questionnaires to their students about uniform reforms but have not altered their policies. However, Madam Lau Kam Lung Secondary School of Miu Fat Buddhist Monastery ended their cheongsam uniform in 1990 after receiving suggestions from its student union. Cheongsams are a popular outfit choice for festive seasons like Chinese New Year. Cheongsams are also popular outfits for older women on formal occasions or family reunions. In countries with significant Chinese populations, such as Malaysia, Singapore, Hong Kong, and Taiwan, it is common for women to have new cheongsams tailored in preparation for the New Year. In Western weddings, Chinese brides or brides marrying into a Chinese family will often wear cheongsam for a portion of the wedding day. Upmarket fashion labels such as Shanghai Tang specialize in modern versions of the cheongsam as occasion wear. It is common for many brides to have both a traditional white wedding dress and a cheongsam or a guaqun (another kind of wedding attire) to be worn during the tea ceremony. Dark blue Qi Lolita dress without mandarin collar. Light blue Qi Lolita dress with mandarin collar. Cheongsam styles have also evolved to be more modern, from mermaid silhouettes to semi-traditional styles that feature a cheongsam top with softer details like lace and a looser skirt. The dresses or jumper skirts are designed after traditional Chinese dresses. Some Lolita dresses are styled like cheongsam. This style of Lolita fashion is called Qi Lolita. Similar attire was worn by female members of the Swedish team and of the Spanish team in the opening ceremony, with the national colors. In the 2008 Summer Olympics, the medal bearers wore cheongsam. For the 2012 Hong Kong Sevens tournament, sportswear brand Kukri Sports teamed up with Hong Kong lifestyle retail store G.O.D. Chinese jackets and cheongsam-inspired ladies’ polo shirts. It now embodies an identity of being ethnic Chinese and thus is used for important diplomatic occasions. In contemporary China, the meaning of cheongsam has been revisited again. In November 2014, cheongsam was the official attire for the political leaders’ wives in the 22nd APEC meeting in Beijing. With the growth of the Chinese economy, cheongsam has experienced a renewed popularity. Since 2013, Peng Liyuan, the first lady of China, has worn cheongsam several times while on foreign visits with Chinese leader Xi Jinping. Many Western designers have integrated elements of cheongsam into their fashion collections. French designer Pierre Cardin once said that cheongsam was his inspiration for many of his evening dress designs. In many films and movies, cheongsam is used to make a fashion statement. In the 2011 movie One Day, Anne Hathaway wore a set of dark blue cheongsam as an evening dress. The varied interpretations of this ethnic dress brings in debates of cultural appropriation and the designs being linked to Orientalism. This dress style has also been specifically seen on more than one celebrity or figure in the early 2000’s. This era is often described as a “global mash up”, incorporating styles, silhouettes, prints, and accessories from subcultures around the world. Lindsey Lohan’s 11 year old character has a prominent scene wearing a pink qipao, paired with a little matching fluffy pink trimmed purse, also an iconic Y2k accessory. This heightened attention of global fashions from Asia brought to Western pop culture’s wardrobe, whilst being shone in starlight with social media and tabloids fawning over these ‘new’ styles, also caused insensitive representation of the fashions, also known as Cultural appropriation. Many western stars such as Elizabeth Taylor, Grace Kelly, Nicole Kidman, Paris Hilton, Emma Watson, Deepika Padukone, and Celine Dion have also made public appearances wearing cheongsam. The Cheongsam was also sold in stores as a Halloween costume for young girls and women to wear, pretending to be a person of Asian descent as their costume. However, as conversations of cultural appropriation increase and social awareness is spread through media platforms and social media, these racially insensitive costumes have since been left more in the past. This created more conversation as more voices of minorities were heard, that this cultural dress is not appreciated when it is sold as a costume. 277 along with the aoqun, a traditional clothing attire of the Han Chinese women. The cheongsam can be worn by people of all ages and at any season. It is also used as a style Traditional Chinese wedding dress among many others. It was eventually accepted by the People’s Republic of China as a form of hanfu, thus becoming transnational and representative of a generic Chinese national identity rather than an ethnic or ancestral identity. In the 1920s, the cheongsam was originally an embodiment of Chinese women’s rebellion and a heroic gesture and a marker of Chinese feminism and Chinese women’s emancipation. For overseas Chinese, the cheongsam has often used as a form of emblematic culture. The Republican period is the golden age of the cheongsam. In exploring the reasons behind its prevalence in Republic of China, many scholars relate it to the women’s liberation movements. After the feudal Qing dynasty was overturned, Chinese feminists called for women’s liberation from traditional roles. They led several movements against the Neo-Confucian gender segregation, including the termination of foot binding for women, cutting off long hair, which was conventionally symbolized as women’s “oriental” beauty, and encouraging women to wear men’s one-piece clothing, Changshan or “changpao”. Han dynasty (202 BC to 220) to Qing dynasty (1616-1911). During that time, Chinese Han female’s clothing gradually developed into two pieces. Women were forbidden to wear robes as men did and instead had to wear tops and bottoms known as “Liang jie yi”. After the Xinhai Revolution of 1911 (which overthrew the Qing dynasty), young Chinese people began to learn Western science and cultures in order to seek a way of saving the nation. Also, the opening of several ports and ceding territories of China to Western powers imported some Western ideas to mainland China. Among all these Western thoughts, the idea of gender equality quickly gained its followers, among whom young female students became its prime advocates. It was the May Thirteenth Movement of 1925, where anti-Westernization demonstrations persisted throughout the country, that served as an important push for the qipao’s institutionalization. The Republicans declared the qipao a formal dress in the Clothing Regulations of 1929. The dress was meant to assert the importance of nationalism by rejecting Western forms of dress. From the start, there was no unifying style for the dress like the Republicans intended; Chinese women had no respect for the Clothing Regulations of 1929, which tried to control individuality. There were endless variations in style, with adaptations to length, material, hemlines, collars, fabrics, patterns, colors, and pairing accessories. That being said, there were still strict rules regulating how the dress needed to be worn, including specifications about length, material, accessories, collar, buttons, and sleeves, but curiously enough, none of these were followed. It was worn by everyone from Shanghai socialites to students, housewives, and prostitutes. The style of the qipao was often in tune with fashion cycles and was influenced by Western trends seen through women styling it with matching scarves, fur coats, and leather heels. The base form of the qipao is rather simple to sew, which makes it easily accessible and economical. Magazines such as LingLong also gave women access to dressmaking knowledge and normalized it for women to make their dresses in their style. It changed from a wide and loose style to a more form-fitting and revealing cut, which put more emphasis on women’s body lines. The style of cheongsam also varied due to Western influence. The design of the cheongsam got various inventions like ruffled collars, bell-like sleeves, and black lace frothing. The length of the cheongsam was also reduced from the ankle reaching to above the knee. Starting from that, the priority of cheongsam moved from a political expression to an aesthetic and ornamental emphasis. The Hongkong Cheongsam-making technique is unique due to its historical background, having incorporated both Eastern and Western clothing designs before giving the Hongkong-style cheongsam its distinctive looks. Due to its long history dating back to the Manchu clothing of the early Qing dynasty, the Beijing-style cheongsam-making technique is listed as a city-level intangible cultural heritage. In 2021, the Hong Kong cheongsam making technique was successfully listed on the fifth National List of Intangible Cultural Heritage. However, the cheongsam is a type of Chinese clothing which was developed in the 20th century under the influences of several cultures, including Western culture, Manchu culture, and the Han Chinese culture. In Western countries, the cheongsam is widely perceived as being a quintessential Chinese garment. The cheongsam also had a significant impact on international fashion centers in the 1950s and 1960s, such as Paris, Rome, and New York, due to its perceived exoticism and its slim line silhouette which was also fashionable in Europe at those times. Descendants of Chinese immigrants or overseas Chinese in Western countries, such as Canada, may wear cheongsam on events such as weddings, graduation ceremonies, and other occasions; however, the cheongsam is not always perceived as being traditional Chinese clothing; for example, some Canadians of Han Chinese descent still remember the use of aoqun as their traditional Chinese dress. 277 The use of cheongsam as a cultural marker of Chineseness can be thus perceived as ironic, and a cultural stereotype of Chineseness as the cheongsam is not associated with any specific ancestral clothing of Chinese immigrants. In Indonesia, the cheongsam has experienced acculturation from Chinese culture and Indonesian culture, one of which is the batik-patterned cheongsam which has become the main cultural identity in Indonesia. In Suriname, the cheongsam is not only presented as being the quintessential Chinese dress but also as the authentic Chinese ethnic clothing; however, the Chinese ethnic clothing, which should have been used, is the shanku, consisting of a shan (jacket) and a pair of ku trousers, as it was the attire which was worn by the Hakka people who came in Suriname as indentured laborers and chain immigrants. In recent years, the trend of Chinese clothing combined with local elements has started to become popular. The euphoria of acculturating Chinese and Indonesian culture is driven by local Chinese citizens who want to show that they love their homeland. Cheongsam clothing made from batik is very attractive fashion, there are clothing models that are suitable to wear during Chinese New Year celebrations. The cheongsam was introduced in Canada after the early 1930s with the flow of Chinese immigrants. Clothing that is an acculturation of Indonesian and Chinese culture is very suitable to complement the celebration. 83 However, the wearing the cheongsam is mixed amongst Canadians with Chinese heritage. 84 Others may wear the cheongsam as an attempt to reconnect with their Chinese heritage and/or to show appreciation to the dress. Some may find themselves uncomfortable or feel alienation when wearing cheongsam due to the lack of self-identification with Chinese culture and Chinese identity. 100 Some may be reluctant to wear it publicly due to their experiences of being part of a racialized group and/or due to self-loathing due to the experiences of racism and marginalization in various forms, such as physical attacks, ostracism, and bullying, the social pressure to integrate and/or the desire to assimilate in the dominant culture as a protective mechanism even at the expense of rejecting any aspects or association with Chinese culture, identity, and appearance in the dress. However, there has been considerable debate on the origin of the cheongsam in academic circles. The first argument says that the cheongsam came directly from the clothing of the banner people when the Manchu ruled China during the Qing dynasty. The second opinion holds that the cheongsam inherited some features of the chángpáo of Banner People in the Qing dynasty, but the true origin of the cheongsam dates back to a period between the Western Zhou dynasty (1046-771 BC) and the pre-Qin era, approximately two millennia before the Qing dynasty. And Chinese Professor Bao Minxin (Chinese: 包铭新) also pointed out in his book A Real Record of Modern Chinese Costume that the cheongsam originated from the ancient robe in the Han dynasty (206 BC-220 AD). This argument was prominently represented by Zhou Xibao (Chinese: 周锡保) in his work The History of Ancient Chinese Clothing and Ornaments. The robe is a one-piece upper and lower connected long dress which was quite popular among ladies in Han. The third argument was raised by Bian Xiangyang (Chinese: 卞向阳) in his book An Analysis on the Origin of Qipao. It is an adaption of Western-style dress during the Republic of China era when people were open to the Western cultures. Bian thinks that the cheongsam originates from neither the robe nor the chángpáo. Moreover, according to him, Chinese women traditionally wore ku trousers under their clothing and the use of silk stockings under the cheongsam or being bare legs is not a Chinese tradition but the result of Western influence. In his opinion, the cheongsam was a hybrid of traditional Chinese costumes and Western costumes such as the waistcoat and one-piece dress. The Vietnamese áo dài looks similar to the cheongsam as they both consist of a long robe with side splits on both sides of the robe with one of the main difference typically being the height of the side split. The áo dài was derived from áo ngũ thân (lit. The áo dài was developed from the clothing worn in Chinese court but it could only be worn by the royalty originally. The ethnic Kinh robe (i.e. the traditional áo giao lĩnh, a type of crossed-collar robe, which was identical to the ones worn by the Han Chinese). In the 18th century, in an attempt to separate his domain from Tonkin ruled by his rival Trịnh clan and build an independent state, Lord Nguyễn Phúc Khoát (reigned 1738-1765) forced his subjects to wear Ming dynasty style Chinese clothing. Another new form of fashion included a type of four-panel robe which was described by Lê Quý Đôn as an áo dài which was loose fitting similarly to the áo giao lãnh. The skirt which was worn by the Vietnamese was also replaced by trousers under his rule. Under the rule of Emperor Minh Mạng, two new forms of áo dài were created from the áo ngũ thân regulated by Nguyễn Phúc Khoát: the áo tứ thân, and the Huế-style áo dài which was created with five flaps. A variant of qipao, taken at the Tokyo Game Show in Japan. The Huế-style áo dài represented royal court culture of the Huế and later developed influenced the modern áo dài. Wei, Yulong (2017). “Research on the Evolution of Cheongsam Style in the Republican Period and Its Contemporary Application”. Proceedings of the 2017 International Conference on Culture, Education and Financial Development of Modern Society (ICCESE 2017). Atlantis Press. Han, Qingxuan (2019). Qipao and Female Fashion in Republican China and Shanghai (1912-1937): the Discovery and Expression of Individuality (Senior project). Stephanie, Ho; Singapore, National Library Board. McKean, Erin (2013). The hundred dresses : the most iconic styles of our time. 刘冬. “The Beauty of Beijing-Style Cheongsam”. Huang, Yunlin; Liu, Yuqing; Yang, Fangxin (24 December 2021). “Exploring the Meaning of Shanghai Cheongsam from the Perspective of the Male Gaze”. Natalie Proulx (8 May 2018). “Is a Chinese-Style Prom Dress Cultural Appropriation?”. Proceedings of the 2021 4th International Conference on Humanities Education and Social Sciences (ICHESS 2021). Vol. 615. Atlantis Press. pp. Tong, Ningning; Yuan, Songmei (2015). “Study of the Strategies for the Digital Communication of the Manchu Costumes under the Theory of Media Extension”. Proceedings of the 2015 International Conference on Education, Management, Information and Medicine. Hong Kong Museum of History, Hong Kong. Garrett, Valery (2019). Chinese dress from the Qing Dynasty to the present day. Xianggang: Kang le ji wen hua shi wu shu. Leisure and Cultural Services Department, Gu gong bo wu yuan, 故宮博物院. Chinese Traditional Dress – Online exhibitions across Cornell University Library. Edward J. M. Rhoads (2000). Manchus and Han: Ethnic Relations and Political Power in Late Qing and Early Republican China, 1861-1928. University of Washington Press. Shaorong Yang (2004). Traditional Chinese Clothing Costumes, Adornments & Culture. For women’s clothing, Manchu and Han systems of clothing coexisted. Long River Press. p. 周, 锡保 (1 January 2002). 《中国古代服饰史》. 中国戏剧出版社. 千志, 魏 (1998). 《明清史概論》. 中國社會科學出版社. Lee, Linda T. (8 May 2012), “Han-Centric Dress: Fashion Subculture or a National Identity for China?”, Fashion: Exploring Critical Issues, BRILL, pp. Material women, 1750-1950 : consuming desires and collecting practices. Maureen Daly Goggin, Beth Fowkes Tobin. Gao, Sally (9 December 2016). “A Brief History Of The Cheongsam”. Gorea, Adriana (2020). The book of pockets : a practical guide for fashion designers. Ling, Wessie (8 May 2011), “Chinese Clothes for Chinese Women: Fashioning the qipao in 1930s China”, Fashion Forward, BRILL, pp. Katya Roelse, Martha Hall. Koo, Hui-lan Oei; Van Rensselaer Thayer, Mary (1943). Hui-lan Koo (Madame Wellington Koo): An Autobiography as Told to Mary Van Rensselaer Thayer. New York: Dial Press. Ling, Wessie (2009). “Harmony and Concealment: How Chinese women fashioned the Qipao in 1930s China.”. In Goggin, Maureen Daly; Tobin, Beth Fowkes (eds.). Material Women, 1750-1950: Consuming Desires and Collecting Practices. Dongfang Daily (2 July 2012). “海上名媛与海上旗袍的华丽转身”. Chew, Matthew (March 2007). “Contemporary Re-emergence of the Qipao: Political Nationalism, Cultural Production and Popular Consumption of a Traditional Chinese Dress”. Feng (in Simplified Chinese). Mizuoka, Fujio (2018). Contrived Laissez-Faireism : the politico-economic structure of British colonialism in Hong Kong. Clement Huang (25 June 2015). “China Airlines introduces new uniform designs”. 李气虹 (The qipao keeps the affections of Hong Kong girls schools of 100 years by Li Qihong) (16 May 2003). “旗袍维系香港女校百年情”. 旗袍维系香港女校百年情. Calhoun, Mimi. “Moments with Mimi: My culture is not your Halloween costume”. Tjon Sie Fat, Paul Brendan (2009). Chinese new migrants in Suriname : the inevitability of ethnic performing. Styling Shanghai. Christopher Breward, Juliette MacDonald. Amsterdam: Amsterdam University Press. 吴, 昊 (January 2008). 中国妇女服饰与身体革命. 上海: 上海东方出版中心. Transnational screens : expanding the borders of transnational cinema. Armida De la Garza, Ruth Doughty, Deborah Shaw (1st ed.). Sim, Cheryl (2019). Wearing the cheongsam : dress and culture in a Chinese diaspora. 2 February 2019). “Cheongsam Rasa Batik, Cantiknya Koleksi Imlek Peranakan Anne Avantie”. Hong Kong Intangible Cultural Heritage Database. 5 February 2024). “Inspirasi Batik Cheongsam untuk Rayakan Imlek”. 22 January 2023). “Desain Batik Keren Akulturasi Indonesia-Tionghoa, Hadirkan Nuansa Imlek”. Desire change : contemporary feminist art in Canada. Heather M. Davis, Mentoring Artists for Women’s Art. 周, 锡保 (September 1984). 中国古代服饰史. Archived 27 December 2019 at the Wayback Machine. 袁, 杰英 (January 2002). 中国旗袍. 北京: 中国戏剧出版社. 北京: 中国纺织出版社. 上海: 东华大学出版社. 卞, 向阳 (November 2003). “论旗袍的流行起源”. 包, 铭新 (December 2004). 近代中国女装实录. 装饰 (11). J523. Lieu, Nhi T. (2011). The American dream in Vietnamese. Minneapolis: University of Minnesota Press. Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history. Áo dài” | Tập San Việt Học”. Jefferson, North Carolina. p. Howard, Michael C. (2016). Textiles and clothing of Viet Nam : a history. Fiona. “A Brief History of Traditional Vietnamese Ao Dai”. Jefferson, North Carolina. p. Travel information for Vietnam from local experts. Beijing: Guangming ribao chubanshe. Shanghai: Shanghai wenhua chubanshe. Bao Mingxin; Ma Li, eds. Chang, Eileen (Zhang Ailing) (Fall 2003). “A Chronicle of Changing Clothes”. Positions: East Asia Cultures Critique.

Clark, Hazel (2000). The Cheongsam. Images of Asia. Hong Kong: Oxford University Press (China). Finnane, Antonia (2007). “Chapter 6: Qipao China”. Changing Clothes in China: Fashion, History, Nation. New York: Columbia University Press. Roberts, Claire, ed. (1997). Evolution and Revolution: Chinese Dress 1700s-1900s. Sydney: Powerhouse Pub., Museum of Applied Arts and Sciences. Schmitz, Rob (2 June 2012). “The Street of Eternal Happiness: The Tailor”. Marketplace. Archived from the original on 23 June 2012. Retrieved 22 June 2012. About a tailor of cheongsam who has been in the business for nearly 80 years. CD-ROM). Pepin Fashion, Textiles & Patterns, no. 1. Amsterdam: Pepin Press. Lee, Chor Lin; Chung May Khuen (2012). In the Mood for Cheongsam: A Social History, 1920s-Present. Singapore: Editions Didier Millet and National Museum of Singapore. Wikimedia Commons has media related to Qipao. This page was last edited on 27 November 2024, at 00:25 (UTC). Text is available under the Creative Commons Attribution-ShareAlike 4.0 License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

If you have any questions with regards to where in addition to how you can work with traditional chinese clothing, you can call us on the site.

BEIJING, Sept 20 (Reuters) – Li Doudou’s grey kitten squeezes in next to her as she sits painstakingly applying makeup and putting up her hair in a bun adorned with elaborate ornaments. Li, who lives in Hebei province in northeast China, is a devotee of the Hanfu movement, which has spanned a decade and in the last year has seen a spike in followers, partly thanks to social media. Chinese for ‘Han clothing’, “Hanfu” is based on the idea of donning costumes worn in bygone eras by China’s dominant Han ethnicity. Looking like she has just stepped off the set of a Chinese historical drama, the 26-year-old property appraiser is wearing a long Ming dynasty-style blue tunic with sweeping sleeves and a flower design outlined in gold and silver thread, paired with a flowing, bright orange skirt. Some of the most popular styles are from the Ming, cheongsam bridal gown Song and Tang dynasties. Dai, who only gave her last name, a public relations manager at Chong Hui Han Tang, a 13-year-old national chain of Han clothing stores. Hanfu enthusiasts doubled to two million in 2018 from a year earlier, according to a survey by Hanfu Zixun, a popular community account on the Wechat social media platform. Li donned her first gown in March and has lost count of the Hanfu outfits in her wardrobe, she says. A tall slim man posts videos on this account in which he is dramatically transformed into a beautiful young woman in traditional Chinese gowns. Li was inspired to buy Hanfu by an account dubbed Nanzhi999, which has 1.1 million followers on the Douyin short video social media platform. Li, at an event to mark Chinese Valentine’s Day in Beijing last month. Those who have studied Hanfu say the movement is a mix of history and fantasy, said Kevin Carrico, author of “The Great Han”. Many Hanfu followers like the clothes for the fashion statement, but some, Li included, say its significance is greater. The Communist Youth League organised a Chinese National Costume Day for the first time last year urging people to share their ethnic outfits online. Hanfu practitioners say they are apolitical, although they point to instances where Hanfu gets support from the government. What keeps people reaching for their Hanfu outfits is often more personal. Since starting to wear Hanfu, Li Doudou said she has attended a class on traditional tea ceremonies. Hanfu also aligns with President Xi Jinping’s call to promote traditional Chinese values. She is also planning to learn to play the “guqin”, an ancient seven-stringed zither.